#choral music notes

[reena-esmail]

Zeher Music Program Notes By Reena Esmail In All USA

Indian and Western classical music. Discover how Esmail weaves cultural narratives into her compositions, creating a rich tapestry of sound that resonates with audiences across the USA. This program note delves into the inspiration behind "Zeher," exploring themes of identity, transformation, and the power of music to transcend boundaries. Perfect for music enthusiasts and cultural explorers alike, this piece is a testament to the beauty of fusion and the universality of art.

[finelythreadedsky]

underrated point of difference in the conventions of ancient and modern theatre is that the ancient chorus is all one gender and age group while a modern ensemble is more usually mixed, at least in terms of gender. must consider this more.

[cupophrogs]

I GOT TO DO THE BELT NOTE CHORUS TODAY

[itslookingback]

they both die at the end has stuck with my brain after reading so you know what that means. i made a playlist for it

[callisteios]

some of my favourite mixes spotify has put together for me

[banana-breadses]

Guysssssssssssss

[pubbykid]

god i love crescendos in choral music so much theres something so magical about singing and hearing the slow forte crescendo

[boi-zizzoi]

Can we talk about the Ever After album by Marianas Trench? I just-- it's beautiful. I used to listen to "Ever After" (the song) on repeat for hours when I was in high school, and while I liked a lot of their other songs, I never realized the absolute EXPERIENCE listening to the entire album in order would be. The song I've memorized all these years essentially continues for about an hour. I HAVE SO MANY THOUGHTS

[doyoulikethissong-poll]

Beethoven - Symphony No. 5 1808

The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony, is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements. It begins with a distinctive four-note "short-short-short-long" motif, often characterized as "fate knocking at the door", the Schicksals-Motiv (fate motif). The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television.

The Fifth Symphony had a long development process, as Beethoven worked out the musical ideas for the work. The first "sketches" date from 1804 following the completion of the Third Symphony. It finally premiered in 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor's podium. The concert lasted for more than four hours. The two symphonies appeared on the programme in reverse order: the Sixth was played first, and the Fifth appeared in the second half.

There was little critical response to the premiere performance, which took place under adverse conditions. The orchestra did not play well - with only one rehearsal before the concert - and at one point, following a mistake by one of the performers in the Choral Fantasy, Beethoven had to stop the music and start again. The auditorium was extremely cold and the audience was exhausted by the length of the programme. However, a year and a half later, publication of the score resulted in a rapturous unsigned review (actually by music critic E. T. A. Hoffmann) in the Allgemeine musikalische Zeitung. Apart from the extravagant praise, Hoffmann devoted by far the largest part of his review to a detailed analysis of the symphony, in order to show his readers the devices Beethoven used to arouse particular affects in the listener.

Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna by Napoleon's troops in 1805. The symphony was written at his lodgings at the Pasqualati House in Vienna.

Symphony No. 5 received a total of 94,6% yes votes!

[wordsvomit101]

That awkward moment when you realized that your big bro got laid with the person you tried to kill.

Author Notes: Credits to @eternal_auditor & @jazeswhbhaven, I got this idea for this shameless worldbuilding headcanons for Heaven and Angels thanks to both of them and the latter's "Angel Bros Headcanons: Michael Flips" post. I also just want to write the scenario in general. Warnings: Raphael is a caution flag himself, depictions of violence, thoughts of brutalizing and eating someone (being directed at MC) by Raphael, a lot of name-calling from Raphael directed at MC

✎﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏

(Heaven - Time of Councils and Assemblies)

In the tranquil embrace of Heaven, evening descends like a gentle caress, casting a soft golden hue upon the timeless realm. As the radiant sun dips below the horizon of ethereal clouds, the celestial landscape is bathed in hues of pink, orange, and purple, creating a breathtaking tapestry of colors that stretches across the vast expanse of the heavenly domain. The sky is like a canvas painted lovingly by the hands of God, with the colors of a thousand sunsets, each stroke a masterpiece of divine artistry. The clouds, like celestial brushstrokes, dance across the canvas, their forms ever-changing, their edges illuminated with an ethereal glow.

Amidst the celestial splendor, angelic beings gracefully glide through the sky upon the archways of purest gold span the thoroughfares of Heaven, their graceful curves reminiscent of angelic wings in flight. Beneath these archways lie crystal atriums, their transparent walls revealing the celestial wonders of Heaven in all their resplendent glory. Their iridescent wings shimmer with divine light, flying gracefully as if they dance and pirouette in ethereal ballets, painting radiant trails of luminescence across the sky.

The lower-ranking angels engage in celestial chorales, their melodious voices intertwining in harmonies that resonate throughout the Heaven. The soaring soprano of archangels blends seamlessly with the velvety alto of cherubim, weaving a symphony that would uplift the soul and transport the listener to realms of pure bliss. The music reverberates through the celestial expanse, like a cosmic symphony conducted to worship the Almighty.

For middle-ranking angels, their beloved duty during the Pilgrimage to the Mount of Revelation to commune with their dear creator has to be despairingly pushed to merely Contemplation of Sacred Texts and attending to the Halls of Eternal Wisdom, a lesser, but an honorable duty nonetheless.

Even higher above, amidst ethereal spires and resplendent palaces that grace the heavenly expanse, angelic artisans toil diligently within the Halls of Artistry. Their deft hands sculpt magnificent statues and weave intricate tapestries, each a testament to the wonders of creation. They yearn for the day when their divine creator will bestow upon them a glimpse of their artistry, even a millisecond of recognition for their unwavering dedication to him would be more than enough.

While other angels tend to the flourishing celestial flora in the Gardens of Eternal Bliss. Radiant blooms burst forth in a splendor of colors, their petals shimmering with an otherworldly luminescence. The angels nurture these heavenly gardens with love and care, a single damage to a petal of these beautiful flowers is enough to have their heads roll to the disgusting pit of Hell, however making a mistake in God's favorite garden is an even bigger sin.

It is a mundane day for all of them.

Bang!

"Sir-!"

Creak!

"AAAAAA-!"

Crunch!

"I have yet to finish my prayer-!"

Snap!

However, it wouldn't be a normal day if there wasn't a Raphael brutally tearing and eating fleshes of every angel on his path to the Chamber of Divine Counsel to meet with other Seraphs. His blood-caked shoes thundering over polished marble as he swaggers through the vaulted corridors of Heaven, his crimson-smeared wings unfurling like banners of carnage. Red marred his short blonde hair and white attire. With each wrathful step, he leaves a trail of dismembered angel carcasses, their alabaster feathers floating like ethereal snowflakes in his wake. His crimson eye fully emits an aura of violence and fury.

Thump!

Bursting into the Chamber of Divine Counsel with enough force to make the office tremble, the room was bathed in an ethereal glow, and the other Seraphs present, Gabriel and Michael, sat in their resplendent chairs, their expressions inscrutable. Raphael's form, however, drenched in the gore of his victims, stood in stark contrast to the pristine surroundings. He only has one thought of personally feasting upon that purple hair wench's flesh when she is still alive and making her watch herself being devoured alive and cut off her tongue so she couldn't even voice out her pain.

"Why... Why is it always her...! That bitch!"

The pure white chairs, crafted from the finest celestial ivory, bore the brunt of his rage, splintering and crumbling under his kicks. Yet Gabriel and Michael, their faces devoid of emotion, paid him little attention.

"If you insist on throwing a tantrum, I implore you to do so in a realm more suited to such sorrowful displays. Hell would accommodate your temperaments more appropriately."

Michael stood tall over the intricately designed long table with a mindmap and countless brainstorming notes. Standing in a place Brother Lucifer used to stand in each council meeting. His glare locked on the furious blonde seraph before him. A frown, as if carved in stone, creased his handsome face, adding an air of solemnity to his prideful demeanor. Around his neck, a regal purple choker, embellished with ornate gold rings and shimmering gemstones, encircled his throat. At its center, a prominent gold ring held a solemn cross pendant, its gentle clinking accompanying his every movement.

In a swift motion, Michael tilted his head to the left, displaying effortless grace as he dodged the flying chair hurtling towards him at high speed. The chair collided with the wall, its impact leaving a deep dent in the panel, a testament to the force behind the throw.

"Shut that shitty mouth of yours! Maybe try to go down there yourself to ask why our dear brother is entertaining trash!" As Raphael spoke, his voice trembled with anger and frustration, his words dripping with venomous accusation. A few veins already popped on his crazed, striking appearance. Filled with unrepressed anger that led him to kill his spies who reported to him and fly from the dungeon up here.

Yet Michael continued to look at his notes, his face blissfully indifferent. His right hand continued to write on many of his papers on the white table.

"He has simply strayed from the right path."

Brother Lucifer’s footstep-less feet headed for the vile tiny red devil.

'Stop it.'

However, he couldn't say the same about his head. Memories he had been trying to wipe from his mind for years served only to haunt him. Taunting him of the gut-wrenching event more than a hundred years ago.

In the silence, pure white hands pushed through the grass and preciously held up the rotten red thing.

'Don't dirty your hands.'

His brother stroked that thing's body so softly with his hands so similar to how he once did with Michael's face. Those strong, beautiful hands that once held his face so tenderly to wipe his tears away. As he placed a gentle kiss on his forehead.

'Brother...'

"I remain confident in my ability to guide him back to the right path." 

His brother's hand was holding Michael’s ray of light. The light in Brother Lucifer’s hand had stopped in front of the disgusting beast's chest, unable to advance further. He was again protecting worthless things that didn't deserve his grace.

'Why did you save it?!'

When his brother finally stood before Michael on his third step, black energy, not white, began to flow from his body.

'No-NononononoNONO-'

From his beloved brother’s head, the gorgeous head of the Morning Star, bright red horns that were the same color as the vile thing that tempted him began to grow.

'Brother- Brother Lucifer please!'

"You shall witness it in due time."

"I love you, my brother. Which is why I will give you one last chance. Return."

Crack!

The force of Michael's left hand left a massive crack in the opulent crystal marble table that trailed down to the other end of it. Effectively bringing clarity back to Raphael as the blonde gazes at Michael's hard knuckle gripping the table painfully, ignoring the blood pooling down to the marble floor and further dirtying the former pristine chamber.

Michael's abrupt actions were met with an air of knowing silence from the two. It wouldn't be far-fetched if they possessed a secret understanding of his motivations that would elude outsiders.

"Hmph," a scoff rang out and pierced the silence of the room, originating from the slender man with platinum blonde hair seated to Michael's right. His face, though classically handsome with a pale complexion, remained stoic and emotionless, belying the arrogance that dripped from the single syllable he uttered.

"Then you better live up to those words."

Gabriel's lean was a graceful movement, his body sinking into the chair as if it were a throne. His arms crossed over his chest, the crisp white of his shirt contrasting sharply with the gleam of the gold chain that adorned his white jabot ruffle shirt. The fabric of his sleeves rustled softly against the delicate filigree, creating a symphony of subtle sounds that echoed through the silent room. His eyes, deep and enigmatic, surveyed the scene before him, his expression a mixture of amusement and quiet contemplation.

"Furthermore, even in his current state, Brother Lucifer still demonstrates a reverence for God. It is conceivable that his actions are merely a symptom of his yearning for God's divine presence."

In this timeless realm, where Gabriel proudly proclaims to reign supreme as the epitome of seraphic obedience, there exists but one for whom he would willingly surrender his esteemed position: Brother Lucifer. The firstborn of God's creations, Brother Lucifer's devotion to his Maker surpassed all others, earning him the title of Morning Star. His brilliance illuminated the heavens, casting an unrivaled radiance that even Gabriel's wings could not obscure.

It was Brother Lucifer who instilled within the celestial choirs the rituals and observances that expressed their gratitude to the Almighty. Yet amidst his unwavering piety, Brother Lucifer adhered to a solitary discipline known only to himself. Only a select few had glimpsed this secret regimen, elusive even to those who had followed his every step for countless eons.

Solitary would not be said without Brother Lucifer's name being attached to the word. He found solace in his own construction of hallowed sanctuaries. These Majestic Temples of Worship at odd places in Heaven served as his solitary refuge, where he could commune with the divine without the distractions of others. His devotion ignited a spark in other angels, who, inspired by his example, crafted Halls of Artistry. They sculpted countless colossal statues of the Almighty, their grandeur exceeding the limits of mortal imagination.

No one dared step one foot into his havens, they were for Brother Lucifer alone, and death would be upon those who broke that unspoken rule.

Yet there were times he allowed Gabriel to join him during Celestial Meditation in the secluded Garden of Eternal Reflection, a sacred sanctuary hidden deep within the heart of Heaven. Here, amidst the fragrant blossoms and tranquil pools, Brother Lucifer let Gabriel join his silent meditation and prayers. It was one of the highlights of Gabriel's day when his brother was still around.

"Not if he is messing with the descendant of Solomon."

Raphael's voice now had the former rage in it that reminded him of what he came here for, to be in these two insufferable presences. He could barely believe it when one of his spies uttered those words out of their useless mouth. That Lucifer? The Morning Star? His brother who despises Solomon as much as any other angel and the one that would bite another head off if they recklessly touched him even in the rendezvous night at the sacred Eternal Flame at the heart of Heaven where they allowed themselves to let loose for a bit?

It sounds fucking unbelievable, but when they show him a picture of that purple-haired vixen bumping parts with his brother, it sends him off the reels. He kills most of the spies and storms out of his favorite dungeon to here.

"Pardon?" Michael's mismatched eyes bulged, his neck creaking and twitching as he stared up at Raphael in a frenzy of incomprehension, his falsely composed display gone. The mere hint of the truth was liable to send the black-haired Seraph into a rampage and murder them all.

"Are you suggesting..." Gabriel's face, previously etched in stoicism, crumbled into a mask of horror. He couldn't believe the words that had escaped Raphael's lips, but he couldn't shake the realization that was slowly creeping upon him. He desperately wished that the words that came out of Raphael's mouth were nothing more than a cruel jest, but the look in his eyes said otherwise.

"I said, he's with the descendant of Solomon, that purple-haired harlot...that traitor....that cheat- That tempting trash!"

It pissed Raphael off even more as he raised his voice volume, veins now appearing on his throat, especially at the reminder of his text with that two-timer. The sheer self-satisfied energy radiating off his phone screen almost makes him fly down to Hell to choke that bitch until her brain pops out of her head himself.

"This is preposterous...impossible..." Michael's jaw hung slack, his eyes wide with disbelief as Raphael's accusations cut through the air like a madman who had just been cheated on. His normally steady stance faltered, replaced by a palpable sense of hysteria that made his body tremble. He stumbled backward, his back colliding with the cold, unforgiving wall as if seeking solace from the onslaught of emotions that threatened to consume him. The wall provided no comfort, its smooth surface a stark contrast to the turmoil raging through his body.

"I'm not joking. I heard her talking about Lucifer, his scar, his... 'thing'," The mere mention of his beloved brother's private part sends shivers down his spine as his voice quivered. The thought of that conniving bitch taking full advantage of the trust Brother Lucifer had placed in her made his blood boil with simmering rage. And that she dared to go against her promise to him as if those moments they shared in the poisonous sky of Hell meant nothing.

"She knows his exact measurements!- You know what, look at this shit yourself!" With a resounding slam that echoed through the room like a thunderclap, he unveiled the damning evidence: a collection of photographs frozen in time, capturing moments of intimate interaction between Lucifer and the individual in question.

The images fell upon the table with a heavy thud, causing the fragile surface to tremble under the weight of their revelation. Despite the force of impact that threatened to shatter the fragile table beneath them, the pictures remained intact, their unspoken truth radiating from their glossy surfaces like a painful revelation begging to be acknowledged.

Michael's face contorted with a ghastly twitch as if he were attempting to conjure laughter, but the sound that escaped his lips was more akin to a hollow echo in the thick, suffocating atmosphere. "Shut up," his mind struggled to piece together the unthinkable truth that lay sprawled before him like a macabre revelation. Denial, a feeble shield against the onslaught of evidence, crumbled before the weight of reality, leaving him quaking.

"I swear before Thrones of Heavenly Majesty I will make her rue the day she even touched him. She corrupted him and brought him over to the side of temptation. God would never-" As Gabriel's solemn vow echoed through the room, the air crackled with the intensity of his conviction, thick with the gravity of impending retribution for the sinner.

His words struck a nerve, exacerbating Michael's fraying composure. The gravity of the situation bore down upon him like a suffocating weight, his anger bubbling to the surface in fervor.

"FUCKING SHUT UP! IT'S NOT REAL! IT'S NOT REAL!" Michael's voice cracked with anguish and insanity, his outburst sending shockwaves through the chamber. In his distress, the chamber was engulfed in an inferno, casting eerie shadows that danced upon the walls. In the distance, the echo of Michael's despair mingled with the desperate prayers and curses of those trapped within the blazing office. The once-orderly chamber had become a scene of utter chaos and destruction.

"O, Almighty Creator," Gabriel's voice trembled with urgency, his words a fervent entreaty to the absent God above. "Grant us clarity in this hour of darkness, illuminate our path with Your divine light."

Meanwhile, Gabriel's attempts at prayer offered little solace as he grappled with the implications of Raphael's revelations.

His murmurs grew more frantic with each passing moment, a desperate attempt to find solace in the face of unsettling truths. "Guide us through this tempest, O Lord, for we are adrift in a sea of uncertainty. Let Your wisdom be our compass, and Your mercy our salvation."

But despite his fervent appeals, only shrieks and flames answer back, echoing throughout Heaven from the burning chamber they're in.

"She said she'd only do that with me..." Raphael’s voice cracked with bitterness, each word laced with venomous resentment. His fingers curled into fists, nails digging into his palms as he fought to contain the seething anger threatening to consume him whole. "...she lied...she lied..."

The weight of betrayal hung heavy in his heart, suffocating him with its oppressive presence. Raphael's chest heaved with each labored breath, his heart aching with the sting of betrayal. "Fucking cheater..." His words dripped with venom, the bitterness of betrayal poisoning his soul.

With a primal snarl, Raphael's control shattered like glass, shards of rage cutting deep into his consciousness. He lashed out blindly, his teeth sinking into the flesh of a passing stupidly brave angel that came to check on the three Seraphs, the taste of blood a bitter reminder of his own foolishness.

"I hate her..." The words escaped his lips in a guttural growl, each syllable dripping with raw fury. His grip tightened around the angel's trembling form, nails digging into flesh as he sought to vent his pent-up rage on an unwitting victim.

"I'm not sloppy seconds..." Raphael's voice cracked with rage, his crimson eyes ablaze like a firestorm. He tore into the angel's flesh with savage ferocity, his actions a grotesque display of his inner turmoil. "...I'm no side bitch!"

Boom!

— — — — — — — — — — — — — —

"Hm?", in the dim recesses of his grandiose office, Lucifer, who was engrossed in his craftsmanship of carving the statue of the divine, lifted his gaze from his artistic endeavor by the sudden but subtle yet discernible disturbance in the island above the sky of Hell.

His pure white eyes shimmered with an otherworldly glow. Despite the plaster and pigments that adorned his once-pristine garments save for his bloody back that had his broken wings. His form radiated a timeless beauty, marred only by the grim expression on his handsome visage.

The sensation he felt was like a creeping up from above, like a ripple in the placid waters of a celestial lake.

'What are those three getting angry at right now?'

Raon, who was perched upon the plush velvet couch that adorned his office, her tall form immersed in the pages of an ancient tome, looked up swiftly at Lucifer's voice, a rare occurrence after hours of silence.

Once she raised her gaze from the text, her curious eyes meeting Lucifer's form with silent inquiry. Normally, she would wait until Lucifer is willing to tell her what is on his mind, but currently, she is bored and needs a break after reading several magic grimoires Lucifer gave her and practicing with them for almost a whole day.

'Let's just hope he will at least give me a short answer.'

"Um, Lucifer, is there something wrong?" Raon's voice, soft and tentative, carried a note of concern as she awaited his response, her gaze fixed unwaveringly upon him.

Lucifer's answer was measured, his words carrying the weight of foreboding. "I feel there's a disturbance. There would be a storm soon," he left out the part that it was most likely his brothers being angry about something again.

"Is it related to the angels?" Yet the young woman still managed to catch onto the hidden message, her question not directed at ordinary angels but at his brothers as she nervously tightened her grip on her grimoire.

Lucifer nodded solemnly. "Very likely," he confirmed. His gaze remained fixed on the distant horizon but his voice relaxed to ease the lady's tension as he contemplated the unfolding events in the celestial realm.

"Oh, then I will get back to my training-", with a subtle shift of his form, he turned his attention back to Raon, his gaze meeting hers with a serene intensity as he stood up to clean himself with a swipe of his finger. He tidied himself with a cleaning spell and put his tools and statues back into their orderly places without doing so himself physically—a casual display of his magic that Raon wishes to get to one day.

"It's fine," Lucifer assured her, his tone gentle yet authoritative. "Let's take a rest. Care to join me for a walk to the observatory room?" Quietly, he held out his right arm for her to hold on to if she wanted to accompany him.

Raon's heart fluttered at the invitation, her breath catching in her throat as she struggled to contain her excitement. "Really? I-I mean, of course! Please lead the way." Her words spilled forth in a rush of eagerness, her eyes shining with anticipation as she rose from her seat and she excitedly but carefully walked over to Lucifer's spot.

As Raon raised her gaze, a silent query lingering in her eyes, she studied the handsome devil's countenance for the slightest hint of unease. Finding none, she shyly reached out and clasped his arm, a silent agreement passing between them. Together, they embarked on a leisurely stroll, the pace unhurried yet purposeful.

Lucifer, typically swift in his movements, slowed his steps to accommodate Raon, pausing whenever she expressed a desire to linger and marvel at the exquisite white blossoms that adorned Paradise Lost, a sight reserved only for the privileged few. The air was filled with a sense of tranquility and reverence as they meandered through the garden, each step bringing them closer to their destination, yet allowing them to savor the beauty that surrounded them. Unbothered by the chaos that is currently exploding in Heaven.

[reena-esmail]

15 Mistakes You’re Making When Reading Piano Notes Chart and How to Correct Them

Learning piano requires patience and dedication. Like acquiring any skill, there are several frequent yet important mistakes that you should try to avoid to make the process of learning go more smoothly. In this blog post, we will discuss 15 common mistakes while reading the piano notes chart and how you can correct them. Read along to learn more!

 1. Confusing Treble and Bass Clef

The treble clef is used for higher-pitched notes, usually played with the right hand, while the bass clef is for lower-pitched notes, typically played with the left hand. You can differentiate them by looking at their symbols: the treble clef looks like a fancy “G” and circles the G line on the staff, while the bass clef looks like a backward “C” with two dots and surrounds the F line. Recognizing the correct clef for each hand is crucial to playing the right notes.

 2. Misinterpreting Note Durations

Note durations tell us how long to hold a note. Misinterpreting these durations can mess up the rhythm of your music. To accurately identify note durations, practice counting beats while playing, and use a metronome to keep a steady tempo.

 3. Ignoring Key Signatures

Key signatures indicate the key of a piece and which notes are consistently sharp or flat. Ignoring key signatures can make you play the wrong notes. For example, if the key signature has a B flat, all B notes should be played as B flat. Common key signatures include C major (no sharps or flats) and G major (one sharp, F#). Always check the key signature before you start playing.

 4. Neglecting Accidentals

Accidentals like sharps (#), flats (b), and naturals (♮) temporarily alter the pitch of a note. A sharp raises a note by a half step, a flat lowers it by a half step, and a natural cancels a previous sharp or flat. Properly identifying and playing accidentals is essential for the correct pitch. When you see an accident, make a mental note of it so you play the right note.

 5. Overlooking Dynamics and Articulations

Dynamics indicate how loudly or softly to play (e.g., piano (p) means soft, forte (f) means loud), and articulations show how to play each note (e.g., staccato for short, detached notes, legato for smooth, connected notes). These elements add expression to your music. Incorporate dynamics and articulations by paying close attention to these markings on your sheet music and practicing them regularly.

 6. Failing to Recognize Chord Symbols

Chord symbols tell you which chords to play, providing harmony to your music. Not recognizing these symbols can result in incorrect harmonies. For instance, a C major chord is written as C, and a G7 chord includes the notes G, B, D, and F. Improve your chord recognition by practicing common chord symbols and their corresponding notes.

 7. Not Paying Attention to Fingerings

Fingerings are suggested finger placements that help you play more efficiently. Ignoring them can lead to awkward hand movements and make pieces harder to play. Follow the fingerings provided in your music to develop smoother, more efficient playing. Mark the fingerings on your sheet music if they’re not already indicated.

 8. Skipping Practice of Sight-Reading

Sight-reading is about reading and playing music at first sight. Regular sight-reading practice improves your overall note-reading skills. Skipping this practice can slow your progress. Enhance your sight-reading abilities by using sight-reading exercises and resources, like beginner sheet music and sight-reading apps, to practice regularly.

 9. Rushing Through Difficult Passages

When encountering a challenging section of music, it’s common to rush through it. However, this can lead to mistakes and reinforce bad habits. Take your time to slow down and practice the difficult passages carefully, breaking them into smaller segments and gradually increasing the tempo as you become more comfortable.

 10. Not Using a Metronome

A metronome helps you maintain a steady tempo while playing. Ignoring this tool can result in inconsistent timing and rhythm. Incorporate metronome practice to ensure you play at the correct speed and keep a consistent beat throughout your pieces.

 11. Skipping Warm-Up Exercises

Warm-up exercises prepare your fingers and mind for playing. Skipping them can lead to stiffness and a lack of coordination. Start each practice session with simple scales, arpeggios, or finger exercises to improve your technique and flexibility.

 12. Overlooking Musical Phrasing

Musical phrasing is how you group notes into expressive, coherent musical ideas such as Piano Trio Music. Ignoring phrasing can make your playing sound mechanical. Pay attention to phrases, typically indicated by slurs or natural breaks in the music, and aim to play each phrase smoothly and expressively.

 13. Neglecting Ear Training

Developing your ear is essential for recognizing pitches, intervals, and chords. Neglecting ear training can make it difficult to play by ear or identify mistakes. Practice ear training exercises, such as identifying intervals and chords, singing back melodies, and playing simple tunes by ear to strengthen your musical ear.

 14. Not Marking Up Your Sheet Music

Failing to annotate your sheet music can lead to repeated mistakes. Marking up your sheet music with notes about fingerings, dynamics, and tricky sections can help you remember how to play them correctly. Use a pencil to make these notes so you can adjust them as needed.

 15. Ignoring Repeats and Codas

Repeats and codas direct you to play certain sections of the music again or jump to different parts of the piece. Ignoring these signs can disrupt the structure of the music. Pay attention to repeat signs, D.S. al Coda, D.C. al Fine, and other navigational marks to ensure you follow the correct form of the piece.

Conclusion

Playing the piano is a complex process requiring much practice and dedication. It is a continuous process that can only be mastered through rigorous practice. Even with consistent practice people often make some common mistakes as discussed in the blog. If you need any help with piano music notes, feel free to contact Reena Esmail for professional guidance.

[xinfinityl0ve17]

KOZI (MALICE MIZER) ASTAN - 2005 Vol.21

Translated by my cousin (corrections are always welcome)

Malice Mizer: MALICE (MALEVOLENCE) AND MIZERE (TRAGEDY)

A comprehensive biography of this band, which is second only to X-Japan in importance within J-Rock or Visual Kei, would be too extensive. Here, we will focus on the period starting with Gackt's entry into the band.

Malice Mizer was founded in August 1992 by Mana and Közi (Kouji). After several line-up changes, the band consisted of: Gackt (vocals, piano), Mana (guitar, keyboards), Közi (guitar, violin), Kami (drums), and Yu-ki (bass) starting in August 1995.

Shortly thereafter, the group released their second album, "Voyage (sans retour)," marking a first step toward superstardom. The musicians' popularity steadily increased, attracting the attention of major record labels. Thus in 1997, MM signed with Columbia in Japan. Their first single, "Bel Air kuhaku no toki no naka de," was released followed by TV appearances and radio shows as well as the famous concert at Nihon Budokan.

In 1998, "Merveilles" was released. Malice Mizer was at the peak of their career, embodying everything associated with superstardom. Fan displays overshadowed anything conceivable, and Gackt could undoubtedly be referred to as the most popular Japanese show star at the time. The concerts were elaborate events, with costumes and staging that surpassed everything seen before. However, the fractures within the band were unmistakable. While Gackt seemed to thrive in the J-Pop Olympus the remaining members were striving for artistic quality. Disputes ensued, resulting in Gackt leaving the band in January 1999. As if that weren’t enough, drummer Kami passed away later that year due to an arterial brain hemorrhage. Following Kami's death, on September 21 1999 the band decided to take a hiatus.

Their fourth album, "bara no seidō," was released in August 2000 under an indie label, Midi:NetteM+M which was the newly established label owned by the band. The album "bara no seidō" is an epic work, heavily influenced by German classical music. Choral passages and long instrumental sections elevate this work to classic status. The trio of Mana, Közi, and Yu-ki experimented on this album without a fixed singer or drummer. This is undoubtedly the most impressive and monumental work by MM, although its reception from the audience could have been better. Perhaps under this impression, the band decided to recruit a new singer, Klaha, in August 2000. The sound shifted towards an epic and darker rock sound. With Klaha, MM returned to catchy melodies, though they were far removed from the J-Pop of the Gackt years. In my opinion, this is the best, albeit temporarily concluding, chapter of the group.

A few singles were released afterward. The last tour took place in July 2001, after which the band disbanded. Klaha began his solo career, Közi is currently active as a solo artist and as a member of Eve Of Destiny, while Mana has become a well-known figure in Japan with his own fashion line and Gothic Lolita shops. He continues to be active as a musician in his band MDM. Yu-ki is no longer prominently involved in music.

It’s also essential to look into the successor bands of Malice Mizer. I can't find anything appealing in Gackt and Klaha's solo works. I really enjoy Eve Of Destiny, as well as everything Mana releases to the public. EOD is an industrial goth band; Mana is much heavier but also more classical in orientation. Közi's solo work sounds very relaxed and somewhat French, although he writes in English.

I have met Közi several times and found him to be a somewhat shy and introverted man. However, he is a very nice guy. But that’s just a side note. What fascinates me is the band's fluctuating musical trajectory. By the time Gackt joined, the typical "growing pains" of any group had settled, and a first creative peak was reached with Gackt. The time with Gackt was the commercially most successful period, and the concerts were a dream visual event. The costumes changed multiple times during the show, and the staging would be compared to German theatrical productions.

Part 2

Groups like Rammstein would turn green with envy. Musically i find Gackt quite uninteresting. He knew how to present himself well in the spotlight but that’s about it. Gackt after Malice Mizer is nothing more than slimy, sweet-and-sour J-Pop. A nod to Herr Rohlen. Artistically an MM album like "bara no seido" is much more impressive. Some elements remind me that both Mana and Közi are great admirers of the German composer Bach. This influence is unmistakable. These influences, combined with Közi's and Mana's magnificent guitar playing, elevate "bara no seido" to a masterpiece for this group. The musicality of Malice Mizer is one of the outstanding characteristics of the Japanese band. The range of instruments spans from the standard instruments of a rock band to very European instruments such as clavichord, spinet, violin, or accordion. One might think that nothing catchy could emerge from this, but that is precisely one of the band's strengths.

Each song is assigned a style and a color. Mana represents the color blue, in which his clothing is designed. Mana is an imposing figure who can only be described as beautiful. When I first saw a video by MM, I thought the guitarist looked quite good. Not to mention, the guitarist is a male. In Japanese tradition, it is not so unusual for a man to appear feminine. Mana gives few interviews and hardly speaks in public, yet he is the creative mind behind Malice Mizer. He has perfected the Gothic Lolita style and can be understood as the counterpart to Gackt. Gackt does not wear white makeup and is considered by a large part of the female MM fans to be the quintessential fairy tale prince.

Közi represents the color red. He appears quite androgynous as an MM member. At the same time, he is aloof, reserved, and doll like fragile. Kami represents the color purple and Yu-ki represents yellow and/or orange. Noteworthy about him is his occasionally drawn-on occasionally real beard. Klaha’s color is either black or white. He later takes on Gackt's role but is much more masculine and less boyish than Gackt.

The look of this group. Malice Mizer seems to change costumes like others change underwear. It’s incredible how tastefully and stylishly Malice Mizer dressed and presented themselves. The staging on stage and in the videos is trendsetting and has not been achieved by any group known to me before or since. The transition from a metal band to a VK group and ultimately to a heavily Gothic-influenced act is marked by significant breaks. Yet, one can always recognize Malice Mizer's typical sound. For anyone who is now curious, I strongly recommend checking out the live DVDs or the group’s videos. Personally, I really enjoy the videos and music from the time with Klaha. The videos with Gackt are more colorful, vibrant and playful. I can recommend all DVDs from Malice Mizer.

The End

[forsoobado137]

Seeing Hetalia and singing terminology in the same post has me literally jumping for joy. My brand!! My brand!! My thing!! Ecstatic. Thank you kind enabler.

Yes I love musicccc. I was in choir so I have a bit of background knowledge. I love thinking about how their voices work lol. Infact, here are some more voice/ choral singing headcanons!

Romano is an opera god. He has the range of Pavarotti, and literally sounds like an angel on earth. I love that this is canon.

Italy has the same classical theatre type of voice as his brother (but not at his level). He's an expert at reading sheet music (a lot of Italian terms).

America has a really powerful tenor voice + amazing breath control. The problem is he's sometimes a bit sharp. Also he loves improvising, which means he'll sometimes shout lyrics instead of singing or he'll experiment with a riff. It doesn't always land. Also, he doesn't really enunciate his consonants.

England sounds American when he sings. His voice is a kind of a generic baritone, though he can reach high notes with a decent falsetto. His strength is that he's always on tempo. He hates when other people clap at concerts because they're always off-beat.

France has a very seductive baritone voice. It's deep and elegant. He knows the differences between the dynamics. He's makes dramatic expressions when singing, which might make some roll their eyes. His range isn't really anything special, and he's annoyed that he gets stuck with the boring baritone melodies. He holds onto the long notes for just a liiiiiittle too long.

Switzerland is a tenor and has very good vocal control. This man can yodel.

Germany is kind of a bland singer. It's like he's never heard of vibrato. He is a bass/baritone who cannot hit the high notes to save his life. Very on tempo.

Prussia CANNOT SING. His voice is raspy, he's tone deaf, and has no sense of dynamics. Don't tell him though...

[thefirstknife]

sorry if this is an obvious question. but I've seen lots of people theorising that "The Conductor" is maya. Why are people saying this? I don't really know much of her lore or the stuff surrounding her (veil etc.) so any sort of explanation or lore on maya would be nice.

No problem! Honestly the whole thing with Maya started last year when they did a lot of extra little bits and pieces about her throughout Lightfall. Maya Sundaresh was one of the Ishtar Collective scientists from the Golden Age and heavily involved with various science, a lot of it connected to the Vex.

Probably the most relevant is the Vex simulations of Ishtar scientists; the Vex simulated 227 copies of Maya, her wife Chioma Esi and two others (Dr. Shim and Duane-McNiadh). The group decided to let the copies free into the Vex network to explore and see what happens. We didn't really know anything about this until Season of Undying (Shadowkeep) when the lore book Aspect released which details a lot about what the copies were doing there and then their plans to escape, with the help of Praedyth. We never found out if they made it out.

In Season of the Wish, last season before TFS, there was the exotic mission Starcrossed which ended with a secret room inside a Vex Citadel that appeared out of nowhere in the Black Garden. Inside that room, we found the symbol of the Ishtar Collective. The running theory is that this shows that the copies have finally escaped or there's some other connection to the whole story of the Ishtar team and the Vex shenanigans they've been through. My post about some extra details in regards to the whole Vex stuff during Wish. We initially also speculated about a possibility that there would be Venus stuff in Echoes, as well as possibly Nessus (or even Mercury or Io); turns out it was Nessus!

Anyway, this stuff with Ishtar and the Vex is a pretty direct link to the fact that Maya could have some influence and connections with the Vex. But why Maya specifically? This is where we go to Lightfall stuff and primarily the Veil Logs. In the Veil Logs, Chioma revealed that Maya was affected by the Veil quite a lot and more or less went mad experimenting with it. In her experiments, she constructed the whole thing to work like an "orchestra" with a "conductor." That word is the biggest clue honestly!

It was further also noted by Osiris when he analysed it all that this all seems similar to what the Witness' species did; some sort of a ritual with a "chorus" and a "conductor." This is also interesting because a lot of what's going on this season is showing us the Vex with references to music and specifically a "chorus:" they're called "choral" Vex. My post about these music references (there's been more since writing this). In one of the Veil Logs towards the end, Chioma explained that she one day found Maya dead in the "conductor's chair." Maya has been connecting to the Veil as a conductor for a very long time and did a lot of experiments with it, primarily attempting to "fabricate consciousness." She succeeded in this by creating Lakshmi-2: she used a dead Exo to essentially fuse minds into it and create something new.

One more of the Veil Logs also mentions that someone called "MSund12" was trying to access them in present time. This is Maya's 12th copy from the network. I went into this in the linked post; MSund12 accessed the OXA through the Vex systems at some point. This is interesting because this was brought up again in TFS in one of the Lost Ghosts quest which also name drops Maya Sundaresh directly and confirms that there are interferences from her going on here.

This set of exotics from the season pass with lore tabs also seems to be giving out hints that it's Maya. It requires some assumptions to be made but Maya fits pretty much all of it really nicely. There are also a lot of little curious details in the activity Enigma Protocol. After each section cleared when you get to the chest, there's three Vex confluxes which can be scanned. They reveal "queries," as if someone is using the Vex network to go through information and data on stuff. It's mostly related to very small personal stuff, Golden Age information, the Collapse and current stuff about the City or Lightbearers: as if someone is trying to connect to their personal things and learn about what the world is like now. For example, one of the queries is "port wine" - this was once mentioned by Chioma in one of the Veil Logs; she opened a bottle of port for her date with Maya.

With all of this combined, there's very little room for the Conductor to be anyone other than Maya, who is now able to control the Vex with those collars. We just don't know which Maya. Is it one of her copies? Is it multiple copies combined into something else? Is there anything of the real Maya in there? It would be interesting if it's just copies because then her teasing Saint as being a copy would be a neat reflection of her own insecurities. Either way, we'll have to wait a bit to find out about the details, but there's no doubt that all of this is setup for the reveal that it's Maya.

[jedimandalorian]

Ahsoka Episode 6 “Far, Far Away”: The Story, the Symbolism, and the Score

Episode 6 of Ahsoka begins with the sound of distant purrgil calls as Ahsoka and Huyang travel through hyperspace, crossing the void between galaxies. During their discussion of the tales Huyang used to tell the Jedi younglings there is no music.

I loved that Huyang said such an iconic line in this episode, reminding us that this is indeed a fairy tale, a children’s story.

The Title Card for Ahsoka appears, and then the episode title, “Far, far Away.”

We hear ominous music when Sabine is in the brig onboard the Eye of Sion. The window to her cell is shaped like an upside down triangle.

The sinister music continues during the scene with Baylan, Shin, and Morgan on the bridge. Morgan’s Theme (the Nightsister theme) is heard when the Eye of Sion exits hyperspace.

The line “Peridea is a graveyard” reminds us that this is indeed a “descent into the abyss” a stage of the hero’s journey which I have discussed on this blog before. Ominous music plays here.

The characters who are aligned with the dark side are on a quest for more power to dominate others. They have followed the Path to Peridea as a kind of path to perdition as I have mentioned in my previous metas. But Sabine, our heroine, is descending into the Underworld on a more noble quest. She hopes to find her beloved Ezra Bridger, echoing the story of Orpheus, the hero of Greek myth who descends into the Underworld to find his beloved Eurydice.

Morgan’s Theme continues when they board the shuttle and descend to the planet Peridea.

The landscape of J. R. R. Tolkien’s Middle-earth is suggested by the giant statues and the Nightsister fortress, which resembles an evil version of Minas Tirith.

The characters encounter three Nightsisters, analogous to the Three Fates of Greek mythology, the Moirai. (Note the similarities between this word and the name of Ahsoka’s owl, Morai, a creature I predict that we will be seeing again soon.)

The three Fates were the personification of destiny in Greek mythology. The three sisters were known as Clotho (the spinner), Lachesis (the alotter), and Atropos (the unturnable, a metaphor for death). The end credits for this episode name these three Nightsisters as Klothow, Lakesis, and Aktropaw, clearly indicating the intended symbolism of these three characters. As George Lucas said back in the late nineties, “Well, when I did Star Wars I consciously set about to recreate myths and the — and the classic mythological motifs. And I wanted to use those motifs to deal with issues that existed today.” (From billmoyers.com) Lucas’ apprentice, Dave Filoni, has learned this lesson from the master himself.

The music is quieter in this scene, with sounds of low vibrations being heard. Morgan’s Theme continues when Sabine is imprisoned by the Nightsisters’ three orbs, which held her bound within a triangle made of red cords of energy.

Outside of the fortress three wolf-like creatures howl as ominous music plays. Choral music suggesting the mysticism of the fallen Jedi Order is heard as Baylan speaks of Peridea being a realm of “dreams and madness” from old “children’s stories come to life.” Once again, the viewer is reminded that we are being told a fairy tale, a myth. The musical score subtly teases the listener with three notes from Ahsoka’s Ronin theme in this scene.

Sabine is imprisoned inside the Nightsister fortress as the Chimaera arrives with the sound of ominous metallic rumbling. Thrawn’s flagship Star Destroyer was named after the female fire-breathing monster in Greek mythology which was part lion, part goat, and part dragon.

I am no Freudian, but the Chimaera’s open docking bay hovering over the phallic tower of the Nightsister fortress seems to be the most overtly sexual symbolism I have seen in Star Wars in a long time. However, I’m not here to discuss that visual metaphor.

Organ music which anticipates but does not present Thrawn’s theme is heard as the Nighttroopers muster under Enoch’s command. These undead stormtroopers have cracked armor repaired with golden seams suggesting the Japanese art of kintsugi, as well as armor pieces bound with bands of red cloth. They are heard chanting “Thrawn! Thrawn!” as the Grand Admiral makes his dramatic entrance. For me this chant was reminiscent of how the orcs in Return of the King chanted “Grond! Grond!” when using their mighty battering ram against the walls of Minas Tirith. (You can do your own Freudian analysis of that scene. I’m not going there.) What was Grond?

“Grond, also known as the Wolf's Head, was a one hundred-foot long battering ram with a head in the shape of a ravening wolf, used in the arsenal of Sauron in the Third Age. Though named for Grond, Morgoth’s warhammer, it was created in the likeness of the Wolf of Angband, Carcharoth.”—from lotr.fandom.com

Creepy music accompanies the Nighttroopers as they transfer of cargo from the catacombs beneath the fortress. What is inside them? Dead Nightsisters, waiting to be revived by dark magic?

Thumps and low pitched sounds accompany Thrawn’s conversation with Baylan.

Thrawn speaks of Sabine’s desire to be reunited with her long-lost friend. (The word desire is a very intentional word choice, with the connotation that the connection between Sabine and Ezra has potential to be more than just friendship.)

Sabine: I’m sure he’s doing just fine.

Thrawn: You gambled the fate of your galaxy on that belief.

Sabine: You wouldn’t understand.

Thrawn: Perhaps not.

Evil does not understand love and loyalty. (See my previous post about the Path to Peridea.)

Enoch returns Sabine’s weapons to her, and she is provided with provisions and a wolf-like howler for a mount. He tells her to “die well” as she embarks on her “fool’s errand.”

The line about a “fool’s errand” calls to mind this scene from Tolkien’s novel, The Return of the King:

'Tell me,' he said, 'is there any hope? For Frodo, I mean; or at least mostly for Frodo.'

Gandalf put his hand on Pippin's head. 'There never was much hope,' he answered. 'Just a fool's hope, as I have been told…”

“A Fool’s Hope” was also the title of the penultimate episode of Star Wars Rebels final season.

Once again, Thrawn’s theme is only hinted at by the organ music at the end of the scene.

Sabine’s scanner is destroyed during her fight for her life with the red-armored bandits in the wastelands. Her life is saved by her Mandalorian armor and weapons, Ahsoka’s training, and Ezra’s lightsaber in this action sequence.

Baylan and Shin ride out on howlers. Nighttroopers load coffin-like cargo containers onto the Chimaera as uneasy music plays. Thrawn decides to dispatch only two squadrons of Nighttroopers. His disdain for Jedi, light or dark, is apparent: “It matters not whether Wren and Bridger are killed or stranded here. The same can be said for your two mercenaries.” Ominous music plays.

The scene with Sabine and the howler is accompanied by gentle music played upon wooden flutes. Sabine processes her abandonment issues and her complex feelings for Ezra in this scene by taking out her emotions on the howler. “You. You abandoned me. I should have known you are a coward.” She tries to make the howler stop following her, but the loyal animal comes back as soon as she walks away. “Okay. Fine,” she says. “I’ll give you another chance, but you better not bail on me this time.” The gentle flute music continues. A motif of ascending perfect fifths suggests Ezra’s Theme.

The howler stops to drink water and sniffs the air. The thing that Sabine and the audience assumes to be a rock is revealed to be a sentient little hermit-crab-like creature called a Noti. Gentle music plays when Sabine kneels, puts down her blaster, and extends her hand to the creature. The Noti recognizes the Rebel Alliance symbol (an evolution of her own Starbird design) on her pauldron. The creature has a medallion of his own, marked with a similar symbol.

“Do you know Ezra Bridger?” Sabine asks, touching her heart. “He’s my friend.”

Ominous music plays as Baylan and Shin discover the dead bandits. Once again choral music is heard when Baylan reminisces about the Jedi Order.

It is also revealed that the Nightsisters are fleeing from a power that is greater than their own.

Baylan and Shin see the red Bandits in the distance. “The enemy of our enemy is our friend,” says Baylan, “for now.”

Peaceful and noble sounding music is heard when Sabine sees the Noti encampment. She smiles at the mother Noti rocking her baby in a hammock.

With Sabine in the foreground, the camera pans to show a now adult, bearded Ezra Bridger wearing a red robe and leaning against the wall of his home. “I knew I could count on you,” he says as joyful music plays, music which features the piccolo, flute, and other woodwind instruments.

The closed captioning for this episode says that there is captivating music playing when Sabine and Ezra finally embrace. We hear a beautifully orchestrated rendition of Ezra’s Theme on the French horn with a new countermelody in the strings to heighten the emotional impact of this long-awaited scene.

Ezra’s Theme is heard again when he says “Sabine, thanks for coming. I can’t wait to go home.”

When we return to where the Chimaera is docked with the Nightsister fortress, a suggestion of Thrawn’s Theme is heard at a quick tempo suggesting the urgency of the situation that is about to unfold. Ahsoka Tano is coming. “The thread of destiny demands it” is a line that further emphasizes the three Nightsisters playing the role of the three fates. We finally hear Thrawn’s Theme presented in an obvious way as the episode ends.

I have blogged about the magnificent end credits music in previous blog posts, so this time I am going to discuss something different: the alchemical symbolism in Ahsoka.

The central focus of alchemy was to transmute base metals into gold and create the elixir of life, as any aficionado of the lore of the philosopher’s stone knows. The process is a metaphor for the purification and transformation of the human soul to a state of perfection.

Three colors symbolize this process, black, white, and red.

First there is the nigredo (blackening) stage of the alchemist’s work, representing the breaking of the human spirit. This is where both Sabine and Ahsoka are at the beginning of the series.

Second is the albedo (whitening) stage, which involves washing away impurities or vices, and being ready to grow and learn again. This is most clearly illustrated by Ahsoka the Grey’s “death” and transformation into Ahsoka the White.

Third is the rubedo (reddening) stage, which is where we are in the story right now. It represents the purified and awakened spirit reaching its highest and purest form.

“The symbols used in alchemical writing and art to represent this red stage can include blood, a phoenix , a rose, a crowned king, or a figure wearing red clothes.”—Wikipedia.

The color red, of course, is symbolic of Nightsisters and their magic in this series, as well as symbolizing the red thread of fate.

Baylan Skoll’s line about having to “destroy in order to create” is an example of the alchemical concept of “solve et coagula” meaning to separate then join together. Nothing new can be built without destroying the old. Perhaps this is really telling us about the destruction and rebuilding of the Jedi Order.

In the completion of the rubedo stage there must be a union of sulphur and mercury, also known as the wedding of the Red King (the sun) and the White Queen (the moon). Sulphur represents the masculine principle, the soul, and the fire of life. (Remember Ezra’s red robe?) Mercury represents the feminine principle and the mind, flexible and changing. (Sabine is a clever young woman who lives inside her head, sometimes too much. Lately she’s been distracted by her heart.) Mercury also represents a state that can transcend death.

Is the much-discussed Ezra and Sabine hug the union of Sulphur and Mercury? Or should we expect something more than that?

Much has been written about Baylan Skoll and Shin Hati as the mythological wolves who chase the sun and the moon. This episode ends with the pair in pursuit of Ezra (sulphur, the Red King, the sun) and Sabine (mercury, the White Queen, the moon). When Skoll and Hati catch the sun and the moon, Ragnarok begins.

Besides sulphur and mercury, there is another element present at the rubedo stage of alchemical transformation: salt.

Ahsoka the White is coming.

Please reblog and comment on what you think of my musical and literary analysis of this episode of Ahsoka. I am looking forward to reading your replies.

[homestuckreplay]

TITLE DROP MOMENT !!!!

(pages 82 + 307)

Today's page HIT, because there's nothing I love more than when stories have patterns and structures, and getting the Rose/Act 2 equivalent of the title card in act 1 is a great example of that. The flash animations aren't beat for beat identical, but they hit almost all the same moments - main character gazing at the sky despite obstruction (beaglepuss, blinding rain), view of what they see in the sky, slow zoom out as main character gets smaller and smaller, exterior shot of character's house.

Rose's flash feels a little more complex and detailed with its storm and meteorite effects and increased shading on the clouds and house, which is probably the author getting more confident with the medium. John gets to see the 'Homestuck' pixel clouds in the sky - which I do think are literally there, because they're not depicted as a computer interface the way every other abstraction is - while Rose doesn't. It could be obscured by clouds, but as the word has been so specifically and uniquely associated with John (despite Rose also being stuck at home) I think that's something that's specifically above his house, just for him.

Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune. (p.82)

Somewhere a zealous god threads these strings between the clouds and the earth, preparing for a symphony it fears impossible to play. And so it threads on, and on, delaying the raise of the conductor's baton. (p.307)

The music imagery in these descriptions and in the act titles is very compelling, especially combined with John and Rose both being gifted musicians. If I'm not mistaken, a piano can be made with reeds that are struck when the keys are pressed, while a violin has strings - so their paragraphs refer to their chosen instruments.

They also fit together really nicely. From Wikipedia:

In some choral works, the conductor may signal to a pianist or organist to play a note or chord so that the choir members can determine their starting notes. Then the conductor gives one or more preparatory beats to commence the music...The beat of the music is typically indicated with the conductor's right hand, with or without a baton.

So the 'note desolation plays' is the one the pianist plays to determine starting notes, and the 'raise of the conductor's baton' is the preparatory beat. John, the piano player, is coded as Desolation, not just someone who is experiencing depression but is actually embodying it, while I think there's an argument for Rose as either the conductor or the zealous god threading the strings? I'm interested in if there will be a moment that feels like the currently delayed 'raise of the conductor's baton' for the story, because if it wasn't the meteor impact at the end of act 1, then what could it be?

I also can't wait for an act 3 equivalent of this. If John successfully convinces TG to be Rose's server player, maybe TG will get his own atmospheric musings and role to play in the symphony. Then again, as far as we know he's not a talented instrumentalist, he's a shitty rapper, so maybe the vibe will be completely different. (As for GG in act 4, I think they play the harmonica).

what does it mean when the characters gaze up at the sky

Rose and John both have misattributed quotes on their pages - Rose's claims to be Charles Barkley, but is actually T.S. Eliot (easy mistake). Both their quotes have strong nature imagery - John's mentions wind and flame, Rose's, plants and rain - and both quotes relate to life/death or proliferation/destruction dichotomies, as well as intense emotions - John's mentions passion and Rose's, desire. Could be some Themes being snuck in here.

There's also a lot of Themes in John and Rose gazing up at their respective skies. It feels like them fully comprehending their situations for the first time, a moment of clarity where they're literally opening their eyes, and seeing a world much bigger and fuller than the ones inside their house. The sky is a vast expanse of unknowns, something not easily traversable by humans without mechanical aids, it's where the gods and the heavens are rumored to be and, for some people, the place they'd like their souls to go after death. Gazing open eyed into the weight of all that at once while the end of the world looms overhead is definitely powerful.

As such, I like that this page came out by itself, and I get to sit with it for a day. Page 82 was quickly followed up by 'Leave a surprise for the mailman' which, firstly, we all need to respect our mail carriers, but secondly is a huge tone shift. That's not bad in itself but I'm glad for the comic to let itself be earnest for a moment before that happens.

I haven't double checked, but this might be our first zoom out on Rose's house, and it's even wilder than I imagined? Entire floors held up on stilts, windows as wide as the walls, a giant waterfall in the basement, three or four different wings plus the observatory tower, and a fucking platform with no safety rails leading across the rocky cliffs? This place is not safe for kids and it definitely isn't up to any kind of code. No wonder Rose expected John to walk across such a narrow bridge to retrieve his dad's PDA. She literally does that every day on the way to school. Also, her mom doesn't have a car despite living in a rural area, and the mausoleum is SO far from the house. What, is someone scared of being haunted by the ghost of a dead cat?